By Christopher Fowler
It’s a criminal offense tailored for the bizarre Crimes Unit: a arguable artist is murdered and displayed as a part of her personal outrageous install. No suspects, no cause, no evidence—but this time they do have an eyewitness. A twelve-year-old claims the killer used to be a cape-clad highwayman atop a black stallion. Whoever the killer quite is, he turns out cause on killing off sufficient minor celebrities to develop into one himself. As “Highwayman Fever” grips London, Bryant and will, besides the most recent member of the Unit, May’s agoraphobic granddaughter, April, locate themselves checking out a case regarding creative rivalries, sleazy intercourse affairs, the Knights Templars, feuding road gangs, and a decades-old crime spree that break up up their partnership as soon as before—and threatens to finish it again…with homicide.
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Extra resources for Ten Second Staircase: A Peculiar Crimes Unit Mystery (Peculiar Crimes Unit Mysteries (Bantam Paperback))
May moved a low-cut span- TEN SECOND STAIRC ASE 25 gled trapeze dress from a swivel chair and hid it. Lately, Sergeant Longbright’s obsession with stars of the 1950s had reached epic proportions. ’ Jungle Red Nail Varnish priced 2/11d, and set it back in place. She had forgotten just how odd everyone was here. ‘To begin with. ’ ‘There are eight of us if you count Raymond Land, but he’s not often here. Spends most of his time creeping around to his ofﬁcer pals at the Met. Now that we’re under the jurisdiction of the Home Ofﬁce, we’re waiting for a visit from their new man.
I heard a noise and started walking back. ’ ‘Like someone messing with an exhibit. ’ ‘Yes, sir. Three of the most controversial artists, a chance for them to answer their critics. ’ Bryant looked for a place to throw the rest of his sandwich and momentarily considered adding it to a bronze sculpture of objets trouvés. ’ ‘That’s right. ’ A week earlier, Channel 4 had broadcast an inﬂammatory programme about the new owner of 40 CHRISTOPHER FOWLER the former Saatchi gallery, implying that he was merely a showman and self-publicist, attempting to ape his predecessor by commissioning outrageous works of art at inﬂated fees.
Here also were housed Salvador Dalí’s melting clocks and arid landscapes in permanent exhibition; his great elephant sculpture is placed on the embankment, teetering on attenuated giraffe legs, where it appears to stride over Parliament itself, surely a vision that would once have brought a charge of treason. In the front of the building (for the river faces its back) the former Charles Saatchi collection of modern British art, now the County Hall Gallery, awaits visitors, who balk and complain at the idea of paying to see ideas made ﬂesh, especially when there’s nothing traditional on display.